Relevant bibliographies by topics / Master artists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Master artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Master artists"

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Kleeblatt, Norman L. "Master Narratives/Minority Artists." Art Journal 57, no. 3 (1998): 29. http://dx.doi.org/10.2307/777967.

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Kleeblatt, Norman L. "Master Narratives/Minority Artists." Art Journal 57, no. 3 (September 1998): 29–35. http://dx.doi.org/10.1080/00043249.1998.10791890.

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Frosch, Paula. "ARTIST BIOGRAPHIES MASTER INDEX. Barbara McNeilCONTEMPORARY GRAPHIC ARTISTS. Maurice Horn." Art Documentation: Journal of the Art Libraries Society of North America 6, no. 2 (July 1987): 91–92. http://dx.doi.org/10.1086/adx.6.2.27947754.

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Pénasse, Julien, Luc Renneboog, and José A. Scheinkman. "When a Master Dies: Speculation and Asset Float." Review of Financial Studies 34, no. 8 (January 30, 2021): 3840–79. http://dx.doi.org/10.1093/rfs/hhab006.

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Abstract An artist’s death constitutes a negative shock to his future production; death permanently decreases the artist’s float. We use this shock to test predictions of speculative trading models with short-selling constraints. As predicted in our model, we find that an artist’s premature death leads to a permanent increase in prices and turnover; this effect being larger for more famous artists. We document that premature death increases prices (by 54.7%) and secondary market volume (by 63.2%).
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Davis, Shanane. "Celebrated Master Artists of the Bikaner School." International Journal of Multidisciplinary Research Configuration 1, no. 1 (January 28, 2021): 33–34. http://dx.doi.org/10.52984/ijomrc1107.

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In this article I have tried to incorporate details about Shah Muhammed, the first celebrated artist of the Bikaner School. During the last decades of the 16th Century, he was trying to achieve a new style by mixing various school styles and techniques. He started to paint in Bikaner and paintings attributed to him were found up to the beginning of the 17th Century. Nur Muhammed learned the fundamentals of "Siyah Kalam on Warqa", painting, and various school styles from his uncle Shah Muhammed. A review of Shah Muhammed's "Siyah Kalam on Warqa" shows his focus was more on the practice and application of various influences and fusions of styles.
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Quijano Martínez, Jenny Beatriz. "Hugh Ramsay’s Self-Portrait: Re ections on a Spanish Master Painter." Boletín de Arte, no. 36 (October 30, 2017): 155–63. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3328.

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The interest in European masters from the past was a phenomenon related to the development of the artistic careers of many artists in Australia at the end of the nineteenth and beginning of the twentieth century. More than that, the copying or emulation of great works of art was seen to be a necessary part of an artist’s training1. This paper looks at Hugh Ramsay and his fascination with the painting Las Meninas (1656) by Velázquez as part of a larger study into understanding how the Spanish in uence was re ected in Australian art. Ramsay introduced elements from Las Meninas into his Portrait of the artist standing before easel, which took him to personify the role of the painter as Velázquez.
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LaGamma, Alisa. "Beyond Master Hands: The Lives of the Artists." African Arts 31, no. 4 (1998): 24. http://dx.doi.org/10.2307/3337646.

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Steiner, Hope. "Master of Silence: Matsumoto Shunsuke’s Muon no fūkei and His Quiet Resistance to Sensōga During the Fifteen-Year War." Mutual Images Journal, no. 5 (December 20, 2018): 85–104. http://dx.doi.org/10.32926/2018.5.ste.mast.

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This article is focused on the wartime works of Japanese artist Matsumoto Shunsuke (1912-1948). In particular, it examines his Muon no fūkei (silent landscapes) series from 1941-1945 and the artist’s motivations behind choosing to depict everyday street scenes in Japan during the Fifteen-Year War (1931-1945). The war was a difficult time for most artists; they were either forced to conform to social and governmental pressures to paint sensōga (war paintings), or they had to virtually stop production rather than run the risk of being arrested. Matsumoto Shunsuke was one of the few painters to focus on individual expression and everyday life scenes during this period. He spent much of Japan’s war wandering the streets, sketching and taking photographs that would later become the templates for his landscapes. The study of wartime art in Japan is still a relatively new topic, but much speculation has been given to Matsumoto’s works as symbols of anti-war resistance. However, the artist’s motivations were far more complex. This paper will explore Matsumoto’s alienation from Japanese society due to his deafness and artistic principles and how these factors, along with his political disagreements with the government and other artists, led him away from sensōga and instead towards the silent landscapes that have today become some of the most popular paintings from the era.
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McQueen, Alison. "An Old Master Revivified: Rembrandt Among 19th Century French Artists." Dutch Crossing 25, no. 2 (December 2001): 221–42. http://dx.doi.org/10.1080/03096564.2001.11730799.

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Shepherd, Barbara. "The First Teaching Artist Fellowship at Montalvo Arts Center: Identifying the Qualities of Master Teaching Artists." Teaching Artist Journal 5, no. 4 (October 23, 2007): 253–59. http://dx.doi.org/10.1080/15411790701578152.

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Dissertations / Theses on the topic "Master artists"

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Kaiser, Lesley. "Preserve, renew, invent [Light Bytes] an art exploration into disseminating aphorisms : this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Arts (Art and Design) MAArtDes, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/410.

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The expanding potential for the dissemination and archiving of aphorisms is explored in this practice-based research thesis. An aphorism is a short statement that communicates an insight about the world (and can sometimes function as a guide to action). Eric McLuhan, interviewed in Signs of the Times: The History of Writing (Goëss Video, 1996), suggests that the future of the book is the aphoristic statement. Aphoristic knowledge has traditionally been transmitted through texts and through libraries, but this project brings into play various modes of recirculating aphoristic texts using contemporary distribution networks and digital media such as moving image, projection on to urban screens, artists’ books, archival digital photography and glazed ceramics. Texts ‘virally inhabit’ a number of sites and languages in a series of works situated in the interdisciplinary context of contemporary text art and artists’ books. The sayings rejoin the cultural river of ideas in local and international incarnations. Practice-based work (80%) and exegesis (20%)
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Syme, Gemma. "AC/DC : a study in art, gender and popular culture : an exegesis presented in partial fulfilment of the requirements for the degree of Master in Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/947.

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This thesis began as an artistic investigation into the politics of identity and sex/sexuality. The main ideas that run throughout this exegesis position themselves within Nicolas Bourriaud’s ideas in the book Postproduction, and also around a parafeminist ideology. Within this I focus on popular music culture, the body, video and performance art, and visual representations of the body. I pay particular attention to the female body, and look into ideas of conventional social norms and how people challenge these. I look into the work of several female artists who deal with the visual representation, and also look at figures within popular music culture. Within band culture I look into how the band can be used as a vehicle to disseminate ideas wider audience. Art and music culture have fed off of each other for generations and can provide valuable strategies within each context for thinking beyond social norms. The remix can be used as a tactic to decode forms and narratives in popular culture. This can be used to investigate representations of identity within a space that is in a constant state of flux. This is particularly useful as a parafeminist strategy because it allows a context in which to question, rather than answer. As a result of this study I have found that there are no concrete answers when it comes to identity and sexuality, but can conclude that conventional gender representations and signifiers of identity can be remixed into different scenarios and narratives that can challenge social norms.
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Ahara, Kimberley A. "Marie Zimmermann master of a dozen crafts /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 4.56 Mb., 77 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435852.

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Jakubowski, Philip. "Masters thesis /." Online version of thesis, 1992. http://hdl.handle.net/1850/11152.

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Williams, Heidi Jean. "The One Man Crew: The Creating and Sustaining of a Master Folk Artist." DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/3849.

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Folk art is the art of everyday life. Framing homes can be artistic when done with a degree of exemplary expertise. Jerry Saville is a master folk artist because of his special skills and techniques exhibited in his trade of carpentry. This research provides a glimpse into a carpenter’s life to discover what creates and sustains a master carpenter. Through desire, drive, dedication (time/practice), life experience/opportunity (apprenticeship), purpose, and a community of support, Jerry Saville became a master folk artist.
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Smithers, Tamara. "Memorializing the Masters: Renaissance Tombs for Artists and the Cults of Raphael and Michelangelo." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/198573.

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Art History
Ph.D.
In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one's memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragon of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy--I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome--were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael's skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie.
Temple University--Theses
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Higham, Hannah Ruth. "The Master of the Unruly Children and his artistic and creative identities." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7727/.

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This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name was coined by Wilhelm von Bode, on the occasion of his first grouping seven works in Berlin and London. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture. Chapter One examines the historiography in connoisseurship from the late nineteenth century to the present and explores the idea of the scholarly “construction” of artistic identity. Repeated attempts to establish historical identities for our Master have resulted in the unique characteristics of our corpus remaining undefined, and the context in which the sculptures were produced inadequately established. Chapter Two surveys the Florentine tradition and highlights a practice of copying that is evident in the corpus and indicative of common workshop production. New classifications into which the corpus (Appendix I) is divided are proposed. Despite the singularity of subject matter associated with our Master an analysis of the iconography of the sculptures has never been carried out. Chapter three connects the works of our Master to St. Bernard of Clairvaux, the humanist revival of antiquity, debates on the Church, notions of Charity, and the politics of Florence.
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Oxelväg, Karolina. "Skeva Speglar/Crooked Mirrors : An Interactive Master Essay by Karolina Oxelväg." Thesis, Kungl. Konsthögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-328.

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"It's not a mask, it's an appendix". Reflections through text and moving image around the Beauty Community as a representative expression of individuality on the internet.  The Essay also contains thoughts around the authors artistical practice.
Documentation Photos of the Master Exam Exhibition "The Compliment Machine". The first edition of the essay was used as an appendix, complementary to the artworks.   Photographer: Jean Baptiste Béranger
Documentation Photo from the Essay Release organised 12 of april 2018 by fellow master students. The photo illustrates the presentation of the second and final edition of the essay. Photographer: Karolina Oxelväg

The master work includes both a written and a performing part. 

Masterarbetet består av en skriftlig och en gestaltande del.

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Laidler, Paul Anthony. "Collaborative digital and wide format printing : methods and considerations for the artist and master printer." Thesis, University of the West of England, Bristol, 2011. http://eprints.uwe.ac.uk/16563/.

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This thesis investigates the collaborative production of fine art digital prints for artists,a process which is used by many contemporary practitioners including Richard Hamilton and Damien Hirst. Digital print as a fine art process has emerged over the last twenty years, and as yet, there is no in depth evidence on the collaborative endeavour and production process which is central to the digital Master Printer’s role. The investigation first establishes the historical context and significance of the Master and Printer in traditional printmaking, and the more recent development of the digital print studio and the digital print pioneers of the 1990s. A series of seven artists’ case studies in the context of the collaborative digital print studio are then offered to demonstrate the working process. The analysis of these proposes a best practice model for Master Printers working with contemporary artists to produce high quality, fine art, wide format inkjet digital prints. The study also compares production methods at the cutting-edge digital facility of the Rijksakademie in The Netherlands, to assess the validity of the practices proposed through a facility closest to the study’s research base at the CFPR’s digital studio. The comparative study also explored the expanding digital production process and the role of the Master Printer. Evolving production processes are also considered in this study as a response to the advancement of digital print technology alongside a practical exploration of what actually constitutes a digital print in this rapidly expanding field of fine art printmaking. This study aims to reveal the inner workings of the digital collaborative process between the artist and Master Printer, and appraise the digital Master Printer’s role. It offers a set of best practice methods for the digital Master Printer developed from this research. The study also considers how the digital print, and the digital print studio may evolve in line with current and future developments in new technologies.
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Svedberg, Patrik. "Gruppundervisning som metod för att utbilda artister." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1984.

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I denna uppsats undersöks hur studenter och lärare uppfattar att gruppundervisningen påverkar viktiga moment för blivande artister. Är det viktigt att se andra uppträda ur ett inlärningsperspektiv? Vad betyder gruppen for individens prestation? Vad finns för forskning om olika typer av gruppundervisning som t.ex. peer-learning och masterclass? Även forskning om hur grupper påverkar individen har varit intressant. Undersökningen fokuserar på ämnet interpretation i masterclass-form för sångare, där syftet varit att undersöka studenters och lärares uppfattningar om hur gruppundervisning påverkar inlärningsprocessen av artistspecifika moment så som nervositet, scenvana, scennärvaro, repertoarkännedom m.m. Denna undersökning är gjord i enkätform och där lärare, och studerande som fortsatt till högre utbildning inom sång, har medverkat. Resultatet visar att uppfattningen är att masterclass-formen har varit mycket viktig för studenternas utveckling i sitt framtida yrkesval. En viktig och återkommande åsikt har varit att kontinuiteten och frekvensen av ämnet är vital för att uppnå goda resultat.
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Books on the topic "Master artists"

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Burkert, Claire. Master artists of Janakpur. Janakpurdham: Janakpur Women's Development Center, 1998.

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14 Thai master artists. Bangkok, Thailand: Office of Contemporary Art and Culture, Ministry of Culture, 2011.

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1943-, Stadler Monika, and Aloni Yael 1929-, eds. Gunta Stölzl: Bauhaus master. New York: Museum of Modern Art, 2009.

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Stölzl, Gunta. Gunta Stölzl: Bauhaus master. New York: Museum of Modern Art, 2009.

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Tamara, Honaman, ed. Polymer clay master class: 11 master artists, 15 projects, incredible inspiration. New York: Potter Craft, 2012.

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de Kooning: An American Master. New York: Alfred A. Knopf, 2004.

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Leslie, Richard. Pablo Picasso: A modern master. New York, NY: Smithmark, 1996.

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Haynes, Barry. Photoshop 4 artistry: A master class for photographers, artists, and production artists. Indianapolis, IN: New Riders Pub., 1997.

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Haynes, Barry. Photoshop 5 artistry: A master class for photographers, artists, and production artists. Indianapolis, IN: New Riders, 1998.

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Nicholas Lanier: Master of the king's musick. Aldershot, Hants, England: Scolar Press, 1994.

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Book chapters on the topic "Master artists"

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Hansen, Jessica. "Prop Master Jay Duckworth." In Theatre Artisans and Their Craft, 87–99. New York, NY : Routledge, 2020. | Series: Backstage: Routledge, 2019. http://dx.doi.org/10.4324/9781351131070-8.

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Fronda, Rahel. "Masters of Micrography: Examples of Medieval Ashkenazi Scribal Artists." In Ruling the Script in the Middle Ages, 255–82. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.usml-eb.5.112438.

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Drake, David B. "The Evolution of Coaches as Artisans: The Five Elements of Mastery." In Coaching entwickeln, 77–88. Wiesbaden: VS Verlag für Sozialwissenschaften, 2011. http://dx.doi.org/10.1007/978-3-531-93059-6_8.

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Wright, Vanessa. "Illuminating Queer Gender Identity in the Manuscripts of the Vie de sainte Eufrosine." In Trans and Genderqueer Subjects in Medieval Hagiography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988248_ch06.

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This chapter analyses the visual representations of the Vie de sainte Eufrosine in three fourteenth-century Parisian manuscripts. It questions how two medieval artists, the Maubeuge Master and the Fauvel Master, approached illustrating the text’s protagonist St Eufrosine/Esmarade, a figure assigned female at birth who lives most of their life as a eunuch in a monastic community. This chapter examines the artists’ depiction of St Eufrosine/Esmarade in three manuscript miniatures, comparing how the artists used signifiers of gender and identity in their portrayals of the saint and other figures to reveal the extent to which the artists represented the saint’s queer gender visually.
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BINSKI, PAUL. "How Northern was the Northern Master at Assisi?" In Proceedings of the British Academy, Volume 117. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262795.003.0003.

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The origins of the painters of the upper walls of the right (north) transept of the Upper Church of S. Francesco has mystified historians of the greatest early showcase of Italian narrative art. These origins have been explored in a literature dominated by specialists in Italian and Byzantine art, and the conclusions have generally been the same, namely that the right transept was worked on by artists who were not only Italian but also French or English, and who remained content to work in distinctively native styles. This chapter argues that the case for specifically English influence at Assisi is actually vastly weaker than that proposed for Sigena, and that to understand the right transept we may have to look away from thirteenth-century London or Paris. This is not to rule out categorically the possibility of any English influence at Assisi; caution may simply help us to expose and understand the kinds of assumption about artistic identity and experience, which can be seen in practice to have influenced our understanding of what are exceedingly complex monuments that defy categorical definitions of personal, group, or national style.
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Cornfield, Daniel B. "Artist Advocates." In Beyond the Beat. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691160733.003.0006.

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This chapter looks at how a new generation of Nashville arts trade unionists is reinventing arts trade unionism for the contemporary generation of enterprising artists. With the advent of recorded music, corporate major labels, and mass distribution through radio airplay by the early 1950s, the chapter shows how Nashville AFM Local 257 had been transformed into a union representing both live and recording musicians and artists by a generation of arts trade union leaders who act as “corporate-era arts union activists.” Throughout the corporate era, Local 257 has developed and enforced master contracts with corporate signatories that apply especially to the major-label recording industry. The new generation of arts trade union leaders—the “entrepreneurial-era union activists”—are endeavoring to revitalize arts trade unionism as the Nashville music scene transitions from the corporate era of major labels into an era of indie entrepreneurial music production and distribution.
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Voytekunas, Valentina. "Итальянская живопись ‘до Рафаэля’ в творчестве Николая Рериха." In Taking and Denying Challenging Canons in Arts and Philosophy. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/008.

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At the turn of the 20th century, interest in Italy and the artistic heritage of the Old Italian Masters, especially the Proto-Renaissance and Early Renaissance was a noticeable phenomenon in Russian culture. Painting ‘before Raphael’ became one of the most important sources that influenced the style and imagery of many Russian artists, including Nicholas Roerich. This article examines the factors that determined Roerich’s interest in early Italian art and analyzes the direct experience of the artist studying ancient painting in Italy, which was reflected in his artistic practice of the 1900s-1910s.
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Wolfskill, Phoebe. "The Art of Assimilation." In Archibald Motley Jr. and Racial Reinvention. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041143.003.0002.

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Chapter 2 examines Motley’s conscientious placement of himself within Western traditions of art. Contextualizing the artist’s training at the Art Institute of Chicago, the chapter considers Motley’s early meditations on the role of the black artist, which differed in many ways from how the artist was eventually historicized. Analyzing three significant compositions spanning an almost twenty-year period, the chapter investigates Motley’s approach to citing and revising canonical works of art as a means of situating himself as a Western, and not just Negro, artistic master. Motley’s citations of recognized works of art allow black figures to function as symbols of beauty (albeit limited by Western constructions of the concept), timelessness, history, class, labor, and leisure within an increasingly diverse urban environment, while also exhibiting the artist’s aptitude for formal play and experimentation.
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Stodder, Ann L. W., and Ann M. Palkovich. "A Master Artisan?" In The Bioarchaeology of Individuals, 162–76. University Press of Florida, 2012. http://dx.doi.org/10.5744/florida/9780813038070.003.0011.

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Yankevych, S. "LITTLE-KNOWN ILLUSTRATIONS BY S. YAKUTOVYCH TO THE WORKS OF W. SHAKESPEARE." In Modern approaches to cultural space and historical knowledge (1st ed.). Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/matcsahk.ed-1.03.

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The article examines the creative work of Ukrainian graphic artist Serhiy Yakutovych, related to the illustration of works of world classics, including Shakespeare's. The introduction is outlined the problem of the state and nature of the certainty of book illustrations by S. Yakutovich based on the works of W. Shakespeare. It is determined that over the last decade, scientific interest in under-standing the work of the master has increased. Researchers study the artist's artistic work in the di-rection of his easel and book graphics, in the context of the artistic activity of the Yakutovych fami-ly circle, as well as through the prism of general trends in Ukrainian graphic art of the last quarter of the twentieth century. The exposition of the main part is divided into three paragraphs, in which the graphic activity of S. Yakutovych's ideological predecessors, features of the artist's graphic ac-tivity in the 1980s, analysis of S. Yakutovych's illustrations to Shakespeare's works are consistently considered. It is determined that S. Yakutovych's artistic heritage, widely known to the domestic art circle of researchers, consists of graphic works, which S. Yakutovych himself identified as the most valuable and most often exhibited at exhibitions. It is easel series of social etchings of the 1980s., book graphics of works by M. Gogol, M. Dostoevsky, O. Pushkin, O. Tolstoy, L. Tolstoy, O. Dumas, O. Gonchar, L. Kostenko, French and Estonian epics, Ukrainian Cossack history. The conclusions of the study emphasize the uniqueness of little-studied aspects of the artist's work, which deepens the knowledge of the development of the author's style and handwriting, details topics covered by the graphic artist and understanding of his artistic goals.
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Conference papers on the topic "Master artists"

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Mokina, A. Y. "MASTER CLASS AND EXHIBITION ACTIVITIES AS AN INCREASE IN THE MOTIVATION OF STUDENTS ' TRAINING IN THE DIRECTION OF DECORATIVE AND APPLIED ARTS AND CRAFTS." In INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION. DSTU-Print, 2020. http://dx.doi.org/10.23947/itno.2020.226-229.

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The article examines the issues of modern pedagogical science in the field of art education, namely, in the preparation of artists of decorative and applied arts. The actual issue of students ' motivation to the educational process and further creative professional activity is considered in the article through the formation and organization of the educational environment on the example of the Department of Decorative and applied arts of the Southern Federal University.
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Kushida, Maria. "Образ писателя-художника как коммуникативный феномен." In Пражская Русистика 2020 – Prague Russian Studies 2020. Charles University, Faculty of Education, 2020. http://dx.doi.org/10.14712/9788076032088.16.

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The article analyzes the illustrative work of Russian writers of the first quarter of the 19th century. Special attention is paid to the definition of the term "writer-artist", as well as to techniques for creating the image of a writer-Illustrator in a work of fiction. In conclusion, we draw a conclusion about the relationship between literature and painting (on the example of interpreting the creativity of word masters who create illustrations for their works), as well as about the unique communicative nature of the image of the writer-artist.
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Kolysheva, Elena. "THE SPASE OF LIGHT AND DARKNESS IN THE CONTEXT OF THE CREATIVE HISTORY OF M.A. BULGAKOV’S NOVEL THE MASTER AND MARGARITA." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-20.

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This article is devoted to the development of the space of light and darkness in M.A. Bulgakov’s novel «The Master and Margarita». The author explores the different stages and artistic devices of Bulgakov’s work on these images in the context of the creative history of the novel. The article, based on an extensive archival research in the Manuscript Collection of Russian State Library, follows the development of the space of light and darkness through a textual analysis of the whole corpus of manuscripts of this novel
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Abdullaevna, Magomedova Manaba. "ABDULL MAGOMEDOVICH ABDURAKHMANOV - MASTER-JEWELER TO THE EMPLOYED ARTIST OF THE RSFSR, LAURATE OF THE STATE AWARD OF THE RSFSR IM. I.E. REPIN." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-108-111.

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Mshaï Mwangola, S. "Bury my bones but keep my words." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.01.

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The author’s experiences preparing and presenting at the 2013 (Nairobi, Kenya) and 2015 (Brussels, Belgium) SOIMA conferences form the basis for this reflection on the work of custodians safeguarding the sound and image heritage of the past. Drawing inspiration from the artistic reflections of acclaimed master poet Ko Awonoor and accomplished writer Yvonne Owuor on death and life viewed through the prism of the dirge singer, the paper explores what it means to be a facilitator bridging the past and the future through the present. Using performance as a catalyst, she identifies three opportunities open to professional archivists seeking to secure the legacy of the past for generations to come: to create within collections conditions for availability, accessibility and adoptability.
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Oosterhuis, Kas. "Where Are We Now?" In International Conference on the 4th Game Set and Match (GSM4Q-2019). Qatar University Press, 2019. http://dx.doi.org/10.29117/gsm4q.2019.0025.

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After 16 years of leading the Hyperbody research group as professor of practice at the TU Delft, I wanted to do something completely different and looked at the Gulf region for further educational and professional activities. I was familiar with the region, having lectured in several countries of the Middle East and eventually having realized an office building in Abu Dhabi. My practice ONL [Oosterhuis_Lenard], which I run together with my wife and business partner visual artist Ilona Lenard, proposed a number of iconic architectural proposals for hotels and office towers, and was eventually awarded some prestigious commissions for master planning projects: the redevelopment of Manhal Palace, the residence of previous ruler Sheik Zayed in Abu Dhabi. Our continuous efforts to contribute to the building market in the UAE culminated in our realized design for Mr Abdullah Al Nasser, the LIWA tower in Abu Dhabi [2014]. I Joined the Department of Architecture and Urban Planning [DAUP] at Qatar University in September 2017.
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Figedyová, Marianna. "POETIC TEXT OF VASILY SHUKSHIN – THE RED GUELDER ROSE IN RUSSIAN AS A FOREIGN LANGUAGE CLASS." In Aktuální problémy výuky ruského jazyka XIV. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9781-2020-2.

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The paper is devoted to teaching the interpretation of the artistic text in the master’s degree program at the Department of Russian Studies, Faculty of Arts, UCM. In the process of study, we look for the most effective way to bring students to learn about fiction, to help them discover the meaning of the work of art and find its place in the Russian and world artistic heritage. The paper aims to approach the teaching process as a synthesis of the reader’s own experiences and work with relevant scientific resources. The aim of such work is to gain deeper and more professional knowledge of students.
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Flores Miranda, Margarita Beatriz. "Proposal for a systemic process: Managing the creative abilities of students pursuing the architectural studio at mexican universities." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3644.

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“Education´s goal is the ability to master life with self-creative forces, in order to achieve something good and beautiful.” Götze, C. (1898). Das kind als Künstler Projects at Mexican schools of architecture often focus on conventional issues of dimension and function; in a country with the largest number of students in the architectural discipline there is an existing disinterest in the appropriation of knowledge, exploration of complexity, and expression of ideas. Such a disinterest calls for the evolution of architectural education. This research proposes it is possible to manage the creative forces of individuals. A working model composed of distinct components will be generated to stimulate areas related to artistic development. In preparation, essential components of the model have been extracted by analysis from the Bauhaus Preliminary Course developed by Johannes Itten, considering its influence on sequential tutors as well as its moment of historic implementation (1918-1923). The objective is to transform Itten´s pedagogy by means of a systemic design process focusing on the development of creative skills. The first methodological approach has been extracted from three of Itten’s thematic fields, each structured by a set of common elements: principle, objective, common material, exercises, and phases (Fig. 1). The sets are related according to their role in the development of talent as a means to discern and reveal artistic character: - BEING UNDER CONSTRUCTION: A physical-soul-spiritual unity that incorporates artistic education through exercises for awakening the body and intellectual harmonization (Fig. 1a). - BALANCED COMPOSITION: Refinement of the senses through intuitive analysis of artistic structures and a critical drawing of reality (Fig. 1b). - CONTRAST: The art of objectivity through the study of opposites: feeling-thinking, intuition-intellect, expression-construction (Fig. 1c). A responsible party, acting as structural element, directs the capacities stimulated within the group and materialized by cohesive exercises, guiding students to define an authentic trajectory: - FAMILIARIZATION: Understanding the bases. - EXPERIMENTATION: Articulation of new configurations. - APPROPRIATION: Creation from the unknown. - OPERATION: Execution in real-time. - REDIRECTION: Return to the origin to adjust and resume. By asserting the student is the center of his or her unique working model the implementation of this method in architectural studios allows for the assignment of any creative exercise and is suitable for all levels of investigation.DOI: http://dx.doi.org/10.4995/IFDP.2016.3644
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Powers, Audrey, and Marc Powers. "Reconsidering Literacy." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317184.

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Literacy, until recently, was defined as the ability to read printed text and to understand the nuances of both the form and content of that printed text. More recently there has been a focus on subsets of literacy – data literacy, numeracy, visual literacy, media literacy, etc. – that recognizes the means of communicating ideas and facts are not limited to the printed text and that there are multiple means which may be more powerful ways of communicating in our world. In recent years, higher education has been redefining what it means to be educated – from a focus on specific bodies of knowledge, or disciplines, to a focus on developing and mastering skills for varying modes of inquiry. Simultaneously, there has been a growing focus on expanding how students and faculty communicate knowledge – what was once strictly the term paper approach is being replaced by the oral presentation, the poster session, or the artistic response. In a world where ideas are more readily communicated via social media such as YouTube, Instagram, Facebook and Twitter, the ability to accurately assess additional modes of communication is critical. This paper will explore different subsets of literacy, describe a method for developing mastery of those literacies in higher education, and advocate for academic library professionals to become specialists focused on literacies as much, if not more, than on content.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Reports on the topic "Master artists"

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Galenson, David, and Robert Jensen. Young Geniuses and Old Masters: The Life Cycles of Great Artists from Masaccio to Jasper Johns. Cambridge, MA: National Bureau of Economic Research, July 2001. http://dx.doi.org/10.3386/w8368.

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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